Emilia Momen
Working from her intimate London studio, Emilia Momen is a British oil painter whose practice balances classical historical references with a contemporary perspective. Emilia Momen: Bathers marks the first solo exhibition at Ronchini Gallery’s new 21 Conduit Street space, where she reimagines the art historical motif of the bather through works exploring intimacy and introspection within contemporary figurative painting. This exhibition signals a notable evolution in her practice, as figures who once reflected modern culture are now depicted in vintage swimwear, engaged in the private, contemplative ritual of bathing.
Portrait of Emilia Momen. Courtesy of the Artist and Rod Lockyer.
Momen learnt a great deal about painting from her mother, having grown up in a home that was always filled with art, oil paints and ‘how-to’ art books. Yet she deliberately resisted following their instruction, determined to invent her own path—a choice that enabled her to develop her own style uncontrolled by regimented direction.
‘I always knew I was going to be an artist from a very young age. However I didn’t really know what that meant, and I did not think I would be lucky enough to have the opportunity to pursue it so young.’
Born in 2001, she first gained recognition at 19 when her painting, The Pink Man, was submitted to The Royal Academy Summer Exhibition and caught the eye of that year’s curator, Yinka Shonibare. This early exposure marked a pivotal moment in her career, leading to offers of a solo show from several galleries. She chose to collaborate with Roxanna Farbound at Ronchini Gallery, who have since hosted both solo and group exhibitions of her work, and showcased her paintings at major international fairs such as Dallas and Miami. Bathers represents a full-circle moment for Momen, highlighting her growth and development as an artist.
Emilia Momen, Ladies by The Lake, 2025, Oil on Linen, 210 x 140 cm. Courtesy of the Artist.
When asked about the poses of the figures in Ladies by the Lake, Momen explained: ‘I would never portray my models as submissive because I deeply care for the people I paint. What I think is so fascinating is that I gave them some direction to control the composition but they each still strongly emanate their own personalities, and how they feel about themselves and their bodies. I hope that anyone looking at the painting can feel their character and relate it to themselves.’
Emilia Momen, Bexhill Bather, 2025, Oil on Linen, 80 x 180 cm. Courtesy of the Artist.
Fascinated by human anatomy and its depiction throughout art history, Momen’s inspiration for this exhibition traces a line from Titian and Cézanne to Matisse. Édouard Manet and Peter Doig were also key influences: Manet through his nuanced handling of light and subtle references to pointillism, and Doig through his vibrant colour palettes. Momen’s own creative process is deeply personal: she photographs friends by bodies of water in moments of complete relaxation, allowing them to naturally settle into poses. The reclining figure in Bexhill Bather balances strength and elegance, nodding to classical works like Alexandre Cabanel’s The Birth of Venus (1863), yet painted with muscular softness, rather than high stylisation.
Emilia Momen, Bathers, 2025, Oil on Linen, 140 x 200 cm. Courtesy of the Artist.
The first three paintings in the series, Bathers I, Bathers II, and Bathers III, were created in collaboration with fashion photographer Jim Lee. Lee drew inspiration from Georges Seurat’s 1884 Bathers at Asnières, producing his own photographic reinterpretations. Momen transformed Lee’s photographs into her own paintings, drawing on Seurat’s harmonious arrangement of figures and exploration of light and shadow to create quiet, social narratives. Though each figure is positioned apart, Momen’s cohesive palette, continuous brushstrokes, and the communal act of bathing create a sense of visual unity.
Emilia Momen, Daisy, 2025, Oil on Linen, 160 x 60 cm. Courtesy of the Artist.
‘My favourite piece in the series is Daisy. I’m quite sad to part with this painting for many reasons. A friend and I were making a short film on the beach that day and when I look at the painting it reminds me of that weekend. I also like that her pose speaks to what she was going through at the time, she was fresh from a break up and she looks scared and unsure about the world and how to face it alone.’
Emilia Momen, Nude Self-Portrait, 2025, Oil on Linen, 130 x 180 cm. Courtesy of the Artist.
Reflecting her recent shift towards the portrayal of the nude body, Nude Self-Portrait depicts Momen positioned on a rock before a gentle seascape. Speaking on this transition in subject matter, she noted, ‘I’m still very much in bathers mode but I have started nudes and I can feel myself leaning into that at the moment.’ Her head tilts downward, guiding the viewer’s gaze toward the swimwear held in her hands, freshly removed, imbuing the scene with a sense of quiet introspection. The original photograph was taken on a beach in the Isle of Wight. Her mother, who had grown up there, had long wished to return, and this visit marked the first time Momen joined her. This painting captures a deeply poignant moment, weaving together personal memory with Momen’s distinctive artistic vision.
Bathers is largely composed of female figures, reflecting Momen’s intent to challenge and redefine historical perceptions of women. Woodbridge Boy, however, is the only work depicting a male figure, shown dressing himself in a vintage blue-and-white striped bathing suit. Inspired by this antique one-piece, Momen initially envisioned a short film, from which the painting emerged as a companion piece. She notes that these swimsuits from the 60s and 70s possess a distinct character and charm: while modern swimwear is designed to conceal necessary areas, antique pieces were beautifully crafted, evoking the aesthetics of a different era. Each work in this series emphasises the contrast between contemporary culture and the aesthetics of the past.
Emilia Momen, Woodbridge Boy, 2025, Oil on Linen, 140 x 70 cm. Courtesy of the Artist.
Momen paints exclusively with brushes and oil on canvas or linen, expressing that her tactile painting technique often requires her to replace brushes weekly; ‘I scrub it into the canvas so the bristles move slowly upwards, and then they become too stiff so I have to buy another one, because it is very important that the bristles are be able to move freely.’
Emilia Momen, The Lighthouse, 2025, Oil on Linen, 220 x 80 cm. Courtesy of the Artist.
Each painting in this series was created specifically for this exhibition. Set within a cultural moment in which bathing is increasingly shaped by vanity and social media appeal, Bathers presents figures experiencing shared freedom and intimate joy, linking quiet moments of reflection with the rhythms of everyday life. Listed among Artelier’s 10 Fine Art Investment Artists to Buy in 2025, Momen emerges as a remarkable talent, marking this exhibition as a notable moment in her growing career, and one not to be missed!
Emilia Momen, Zof & Mimi, 2025, Oil on Linen, 140 x 180 cm. Courtesy of the Artist.
Sophie Harris
En Plein Air Editor, MADE IN BED
